seamus dubhghaill

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Tag Archives: Sunday Independent (newspaper)


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Birth of Irish Actress Sinéad Cusack

Sinéad Moira Cusack, award winning Irish actress, is born Jane Moira Cusack in Dalkey, County Dublin, on February 18, 1948.

Cusack is the daughter of actress Maureen Cusack and actor Cyril Cusack. She is the sister of actresses Sorcha Cusack, Niamh Cusack, and half-sister to Catherine Cusack. Her father is born in South Africa, to an Irish father and an English mother, and had worked with Micheál Mac Liammóir at Dublin‘s Gate Theatre.

Cusack’s first acting roles are at the Abbey Theatre in Dublin. In 1975, she moves to London and joins the Royal Shakespeare Company (RSC) starring in Dion Boucicault‘s London Assurance in the West End. Her work with the RSC continues with an award-winning performance as Celia in As You Like It which includes the Clarence Derwent Award and her first Laurence Olivier Award nomination. She secures a second Olivier Award nomination for her performance in The Maid’s Tragedy by Francis Beaumont and John Fletcher in 1981, followed two years later with a third Olivier Award nomination as Kate in The Taming of the Shrew.

Cusack makes her Broadway debut in 1984 performing in repertory with the Royal Shakespeare Company. Starring opposite Derek Jacobi, she plays Roxane in Anthony Burgess‘s translation of Edmond Rostand‘s Cyrano de Bergerac and Beatrice in William Shakespeare‘s Much Ado About Nothing, directed by Terry Hands. Much Ado is first produced at the Royal Shakespeare Theatre in Stratford-upon-Avon in 1982–83, then moves to London’s Barbican Centre for the 1983–1984 season where it is joined by Cyrano, before both plays transfer to New York‘s Gershwin Theatre from October 1984 to January 1985, for which Cusack received a Tony Awards nomination for her performance as Beatrice, and costar Derek Jacobi wins the award for his Benedick. The production of Cyrano de Bergerac is later filmed in 1985.

During this period, Cusack and her husband, Jeremy Irons, appear in a Shakespeare Winter’s Eve, a major fundraiser for the Riverside Shakespeare Company in New York, along with other members of the Royal Shakespeare Company. Following the Broadway run, the plays tour the United States, making stops in Washington, D.C. and Los Angeles. Her connection with the Royal Shakespeare Company continues with a series of leading roles include Portia in The Merchant of Venice opposite David Suchet, Lady Macbeth opposite Jonathan Pryce in Macbeth and Cleopatra in Antony and Cleopatra in Stratford-upon-Avon and at London’s Theatre Royal Haymarket in the West End.

In 1990, Cusack, in the role of Masha, joins two of her sisters, Niamh (as Irina) and Sorcha (as Olga), and her father, Cyril Cusack (as Chebutykin) for a well-received production of Anton Chekhov‘s tragicomedy Three Sisters in a new version by Frank McGuinness, directed by Adrian Noble at the Gate Theatre, Dublin, before transferring to the Royal Court Theatre in London. The production also features Niamh’s husband, Finbar Lynch, as Solenyi and Lesley Manville as Natasha. The production wins the three real-life sisters the Irish Life Award in 1992.

One of Cusack’s best known stage roles is Our Lady of Sligo by Sebastian Barry in 1998, in which she plays the principal role of Mai O’Hara in performances in Ireland, on Broadway and at the National Theatre. For this she wins the 1998 Evening Standard Theatre Award for Best Actress, the 1998 Critics’ Circle Theatre Award for Best Actress and her fourth Olivier Award nomination for Best Actress. In 2006-07 she stars with Rufus Sewell in Tom Stoppard‘s Rock ‘n’ Roll at the Royal Court Theatre in London which transfers to the West End and Broadway, winning Cusack her fifth Olivier Award nomination and her second Tony Award nomination.

In 2015, Cusack returns to Ireland’s Abbey Theatre, where she begins her theatre career. She appears in the world première of Mark O’Rowe‘s play Our Few and Evil Days, acting opposite long-time collaborator Ciarán Hinds. She wins the Irish Times Irish Theatre Award for Best Actress.

Cusack stars with Peter Sellers in the film Hoffman (1970). She guest stars in an episode of The Persuaders! (1971), a TV series starring Tony Curtis and Roger Moore, as Jenny Lindley, a wealthy heiress who suspects that a man claiming to be her dead brother is in fact an impostor. In 1975, she makes three appearances in the TV series Quiller as the character Roz.

Cusack and her husband appear together in the film Waterland (1992), in a television adaptation of Christopher Hampton‘s Tales from Hollywood (also 1992), and again in Bernardo Bertolucci‘s Stealing Beauty (1996). Further film work includes Passion of Mind (2000), V for Vendetta (2005), and Eastern Promises (2007), a thriller directed by David Cronenberg. Her performance in The Tiger’s Tail (2007) wins her a first Irish Film & Television Academy (IFTA) Award nomination for Best Actress in a Supporting Role. She wins the IFTA Award for her performance in The Sea (2013), adapted from the novel by John Banville. She is nominated once more for an IFTA Award for her performance in John Boorman‘s drama film Queen and Country (2014), which premières at the Cannes Film Festival.

Further starring roles include lead roles in Oliver’s Travels (1995), Have Your Cake and Eat It (1997) for which Cusack wins the Royal Television Society‘s RTS Award for Best Actress and Frank McGuinness’s The Hen House (1989) for BBC Television. She stars in the title role of George du Maurier‘s Trilby (1976), in an adaptation for the BBC’s Play of the Month, with Alan Badel as Svengali. She also stars in the BBC mini-series North & South (2004, from the novel by Elizabeth Gaskell) as Mrs. Thornton. She stars in the BBC sitcom Home Again (2006) and appears in the TV series Camelot (2011), which runs for one season. She has featured roles in the mini-series The Deep (2014) and the series Marcella (2016), an eight-episode murder mystery.

Along with other actresses, including Paola Dionisotti, Fiona Shaw, Juliet Stevenson and Harriet Walter, Cusack contributes to a book by Carol Rutter called Clamorous Voices: Shakespeare’s Women Today (1994). The book analyses modern acting interpretations of female Shakespearean roles.

Cusack marries British actor Jeremy Irons in 1978, and they have two sons, Samuel James and Maximilian Paul. Prior to marrying Irons, she gives birth to a son in 1967 and places the boy for adoption. In 2007, a journalist for the Irish Sunday Independent, Daniel McConnell, reveals that Cusack is the mother of left-wing general election candidate and now member of Irish parliament Richard Boyd Barrett. The two have since been reunited.

Cusack is a patron of the Burma Campaign UK, the London-based group campaigning for human rights and democracy in Burma. In 1998, she is named, along with her husband, in a list of the biggest private financial donors to the British Labour Party. In August 2010, she signs the “Irish artists’ pledge to boycott Israel” initiated by the Palestine Solidarity Campaign.

(Pictured: Sinéad Cusack reciting poetry for the British Library in October 2021)


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Birth of Anthony Cronin, Poet, Activist, Critic & Editor

Anthony Gerard Richard Cronin, Irish poet, arts activist, biographer, commentator, critic, editor and barrister, is born in Enniscorthy, County Wexford, on December 28, 1923.

After obtaining a B.A. from the National University of Ireland, Cronin enters the King’s Inns and is later called to the Bar.

Cronin is known as an arts activist as well as a writer. He is Cultural Adviser to Taoiseach Charles Haughey and briefly to Garret FitzGerald. He involves himself in initiatives such as Aosdána, the Irish Museum of Modern Art and the Heritage Council. He is a founding member of Aosdána, and is a member of its governing body, the Toscaireacht, for many years. He is elected Saoi, a distinction for exceptional artistic achievement, in 2003. He is also a member of the governing bodies of the Irish Museum of Modern Art and the National Gallery of Ireland, of which he is for a time Acting Chairman.

With Flann O’Brien, Patrick Kavanagh and Con Leventhal, Cronin celebrates the first Bloomsday in 1954. He contributes to many television programmes, including Flann O’Brien: Man of Parts (BBC) and Folio (RTÉ).

From 1966 to 1968 Cronin is a visiting lecturer at the University of Montana in Missoula, Montana, and from 1968 to 1970 he is poet in residence at Drake University in Des Moines, Iowa. He reads a selection of his poems for the Irish Poetry Reading Archive in 2015. He has honorary doctorates from several institutions, including the University of Dublin, the National University of Ireland and the Adam Mickiewicz University in Poznań, Poland.

Cronin begins his literary career as a contributor to Envoy, A Review of Literature and Art. He is editor of The Bell in the 1950s and literary editor of Time and Tide (London). He writes a weekly column, “Viewpoint,” in The Irish Times from 1974 to 1980. Later he contributes a column on poetry to the Sunday Independent.

His first collection of poems, called simply Poems (Cresset Press, London), is published in 1958. Several collections follow and his Collected Poems (New Island Books, Dublin) is published in 2004. The End of the Modern World (New Island Books, 2016), written over several decades, is his final publication.

Cronin’s novel, The Life of Riley, is a satire on Bohemian life in Ireland in the mid-20th century, while his memoir Dead as Doornails addresses the same subject.

Cronin knows Samuel Beckett from when they do some work for the BBC during the 1950s and 1960s. He gives a prefatory talk to Patrick Magee‘s reading of The Unnamable on the BBC Third Programme. Beckett is not impressed, saying, “Cronin delivered his discourse… It was all right, not very exciting.” Cronin later publishes a biography of him, Samuel Beckett: The Last Modernist (1996), followed on from No Laughing Matter: The Life and Times of Flann O’Brien (1989).

In his later years, Cronin suffers from failing health, which prevents him from traveling abroad, thus limiting his dealings to local matters. He dies in Dublin on December 27, 2016, one day short of his 93rd birthday.

Cronin firstly marries Thérèse Campbell, from whom he separates in the mid-1980s. She dies in 1999. They have two daughters, Iseult and Sarah. Iseult is killed in a road accident in Spain. He secondly marries the writer Anne Haverty who, along with daughter Sarah, survives him.


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Birth of Geraldine Kennedy, First Female Editor of “The Irish Times”

Geraldine Kennedy, Irish journalist and politician who serves as the first female editor of The Irish Times newspaper, is born on September 1, 1951, in Tramore, County Waterford. She previously serves as a Teachta Dála (TD) for the Dún Laoghaire constituency from 1987 to 1989.

Kennedy studies at Dublin Institute of Technology (DIT) and begins her journalistic career with a regional newspaper, The Munster Express. She moves to The Cork Examiner after less than a year but spends only a few years there before joining The Irish Times.

On the foundation of the Sunday Tribune in 1980, Kennedy joins it as the paper’s political correspondent. The paper’s publisher, John Mulcahy, had become familiar with Kennedy when she had contributed to his journal, The Hibernia Magazine. When the Tribune briefly ceases production, she moves to the Sunday Press.

In 1982, Kennedy’s telephone, along with those of two other journalists, is tapped by former Minister for Justice Seán Doherty. Early in 1987, she successfully sues the incumbent Charles Haughey-led Fianna Fáil government for illegally tapping her phone. The revelation in 1992 that Charles Haughey had personally ordered the phone taps leads to Haughey’s resignation as Taoiseach.

Kennedy stands in the 1987 Irish general election as a candidate for the newly formed Progressive Democrats party in Dún Laoghaire. She comes in third in the poll, winning 9.4% of the first-preference vote. She is one of fourteen Progressive Democrat TDs elected to Dáil Éireann in that election, a feat the party never achieves again. She is appointed the party’s spokesperson for foreign affairs.

She stands again in the 1989 Irish general election and wins 9% of the first-preference vote but fails to retain her seat.

Following her election defeat, Kennedy returns to The Irish Times, then edited by Conor Brady, whom she had worked with at the Tribune when he was the editor. She avoids party-political journalism for several years, but she returns to covering politics in the early 1990s and becomes the political editor of The Irish Times in 1999. She becomes the newspaper’s first female editor upon the departure of Brady in late 2002. One of her rivals for the editor’s chair is the paper’s high-profile columnist, Fintan O’Toole.

Kennedy is paid more than the editor of Britain’s top non-tabloid newspaper The Daily Telegraph, which has a circulation of about nine times that of The Irish Times. Later columnist Fintan O’Toole tells the Sunday Independent, “We as a paper are not shy of preaching about corporate pay and fat cats but with this there is a sense of excess. Some of the sums mentioned are disturbing. This is not an attack on Ms. Kennedy, it is an attack on the executive level of pay. There is double standard of seeking more job cuts while paying these vast salaries.”

In September 2006, Kennedy approves the publication of an article in The Irish Times giving confidential details of investigations being made into payments purported to have been made in 1993 to Taoiseach Bertie Ahern. She refuses, upon request of the investigating Mahon Tribunal, to provide details of the source of the printed information. She responds that the documents have since been destroyed. Her refusal causes the Tribunal to seek High Court orders compelling her to provide details of the source. On October 23, 2007, the High Court grants the orders compelling her to go before the Tribunal and answer all questions. In its judgment, the High Court, criticising her decision to destroy the documents, says it was an “astounding and flagrant disregard of the rule of law.” In 2009, however, the Supreme Court of Ireland overturns this ruling, holding that the High Court had not struck the correct balance between the journalists’ right to protect their source and the tribunal’s right to confidentiality.

Kennedy announces on March 12, 2011, her intention to retire from The Irish Times by September, after a nine-year term as editor. She actually retires in June and is succeeded by news editor Kevin O’Sullivan on June 23, 2011.

In August 2012, Kennedy is appointed Adjunct Professor of Journalism at the University of Limerick. She has been awarded five honorary doctorates from Irish universities.


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Birth of Anne Harris, Former Editor of the “Sunday Independent”

Anne Harris, the former editor of the Sunday Independent, is born on August 25, 1947. She is the former wife of Eoghan Harris who was an opinion columnist for the newspaper. Her daughter, Constance Harris, writes for the newspaper as a fashion writer.

In 1972, Harris writes a controversial article defending the 1972 Aldershot Bombing, an article she later expresses regret for. She also works for The Irish Press, as well as the political magazine Hibernia and the fashion magazine Image.

Harris is originally a socialist and a feminist. In the 1980s she abandons socialism in favour of the free market but remains a feminist. Harris also becomes known for her opposition to Irish nationalism and Irish republicanism, similar to her then-husband Eoghan Harris and Conor Cruise O’Brien. This position is reflected in the Sunday Independent‘s coverage of Northern Ireland. This causes some commentators to claim Harris is a “Southern Unionist.”

Harris lives with Sunday Independent editor Aengus Fanning until his death on January 17, 2012. On February 5, 2012, the Sunday Independent announces that she will succeed Fanning as the publication’s editor.

On the evening of Saturday, July 19, 2014, group editor of INM newspaper publishers, Stephen Rae, orders the presses to be stopped to amend a column written by Harris, the Sunday Independent editor, which features references to Denis O’Brien. Copies of the original article do however appear, allowing comparisons between the two. Harris originally writes: “Denis O’Brien is the major shareholder in INM. In theory, with 29% of the shares, he does not control it. In practice, he does.” Rae has the last sentence deleted. She also writes: “The question is whether he understands newspapers. In order to confront the truths in our society, we must have a free press. With the restrictive charter for journalists proposed last year, and some garrotive (sic) new structures, Denis O’Brien does not make this easy.” This is changed to: “The question is whether he understands newspapers. In order to confront the truths in our society, we must have a free press. If the restrictive charter for journalists proposed last year, along with some other structural changes, are anything to go by, it might be instructive for him to listen to journalists, troublesome and all as they are.“

Harris leaves the newspaper some months later, with The Irish Times noting her departing speech to staff as follows: “She is understood to have spoken only about journalists and journalism and not about newspapers and their owners, a subject matter she has previously addressed in several columns.”


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Death of Newspaper Editor Douglas Gageby

(Robert John) Douglas Gageby, one of the pre-eminent Irish newspaper editors of his generation, dies on June 24, 2004, following a lengthy illness. His life is well documented and a book of essays about him, Bright Brilliant Days: Douglas Gageby and the Irish Times, written by many of his colleagues, some of whom had attained fame for their literary achievements, is published in 2006.

Gageby is born at 54 Upper Beechwood Avenue, Ranelagh, Dublin, to Thomas Gageby, a Belfast-born civil servant. His mother, Ethel Elizabeth (née Smith), is a schoolteacher from County Cavan. The Gageby family moves to Belfast when he is about three years old as his father goes to work for the Northern Ireland Civil Service following partition. His paternal grandfather, Robert Gageby, stands as a Labour Party parliamentary candidate in Belfast North in 1910, and is a Belfast City Councillor for 20 years, first elected in 1898 as a trade union candidate supported by the Independent Labour Party.

Gageby is educated at Belfast Royal Academy and Trinity College Dublin, where he is elected a scholar in Modern Languages (French and German) in 1940. He is also actively involved with the student newspaper, Trinity News. He enlists in the Irish Army as a private soldier at the outbreak of World War II. He is commissioned later, and he serves as an intelligence officer. He reports from post-war Germany for The Irish Press and goes on to work under Conor Cruise O’Brien in the Irish News Agency. In 1954 he is the first editor of the Evening Press. In 1963 he becomes editor of The Irish Times, a post he holds until 1986, having been brought back from a short retirement in 1974. He is credited with moving The Irish Times from a Unionist organ into a successful Irish journal of record.

In 2003 it is revealed that a director, and later Chairman, of The Irish Times, Major Thomas Bleakley McDowell, had referred to Gageby as a “white nigger” for his views and role in the paper during the Northern Ireland civil rights movement‘s campaign in the 1960s. The comment appears in a letter from the British Ambassador to Dublin, Sir Andrew Gilchrist, to Kelvin White, head of the Irish Section of the British Foreign Office and is dated October 2, 1969. Gilchrist is referring to conversations which he had with McDowell where the latter professes himself to be fully behind the British government in the North and hostile to Gageby’s coverage of the civil rights movement. However, historian Mark O’Brien notes, “Despite his contacts with London, McDowell’s actions did not interfere with Gageby’s editorials on Northern Ireland”, due to the fact McDowell believes in editorial independence (even though McDowell strongly disagrees with Gageby’s nationalist views), and because Gageby is making the newspaper commercially successful. Under the 30 year rule, this letter is made available to newspapers on December 22 and 23, 1999, but no newspaper publishes it at that time.

The communiqué is later discovered by the historian Jack Lane and published in the Irish Political Review, a small magazine strongly antagonistic to The Irish Times, in January 2003. He brings it to the attention of The Irish Times editor, Geraldine Kennedy, on January 10, 2003, and she replies on January 15, 2003 saying she is “unable to confirm the veracity of it” and does not publish it. When, on January 26, 2003, the Sunday Independent (Ireland) publishes the story, The Irish Times finally follows the next day, January 27. Nonetheless, on April 24, 2004, Kennedy defends her position by saying, “The contents of the letter in question were published on January 27, 2003, as soon as its existence was drawn to my attention.”

Gageby dies on June 24, 2004, following a two year illness. His private funeral is conducted by Rev. Terence McCaughey, a family friend. The Irish Times endows an annual Douglas Gageby Fellowship for young journalists and a stand of trees is planted in his memory at Moynalty. His papers are presented to Dublin City University (DCU).

Gageby is married to Dorothy, daughter of Seán Lester, last Secretary General of the League of Nations. His daughter, Susan Denham, is the Chief Justice of the Supreme Court of Ireland from 2011 to 2017.


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Death of Jonathan Philbin Bowman, Journalist & Radio Broadcaster

Jonathan Philbin Bowman, Irish journalist and radio broadcaster, dies in a fall at his Dublin home on March 6, 2000.

Born in Dublin on January 6, 1969, Bowman, the son of the historian and broadcaster John Bowman and Eimer Philbin Bowman. He is the brother of comedian and journalist Abie Philbin Bowman. He is educated at Sandford Park School and at Newpark Comprehensive School in Dublin. He chooses to leave formal education in his early teens, a decision he announces to the nation on RTÉ‘s flagship talk programme The Late Late Show.

Bowman works mostly as a freelance journalist. He co-presents a radio show, The Rude Awakening, on Dublin’s FM104 with Scott Williams, George Hellis and Margaret Callanan for two years between 1993 and 1994 before joining the Sunday Independent newspaper as a columnist. He later presents television programmes on RTÉ, such as the quiz show Dodge the Question.

Bowman dies in a fall at his home on Fitzgerald Street in Harold’s Cross, Dublin, on March 6, 2000. He is found lying in the kitchen near the foot of the stairs. His death is believed to be the result of a fall down the stairs or from a stool, which is found nearby.

Taoiseach Bertie Ahern says that he is deeply saddened on learning the news of Bowman’s death. His thoughts and prayers he says are with his family at this very sad time.

The leader of the Labour Party, Ruairí Quinn TD, expresses his shock and sadness on hearing of the death. He says that Bowman was without doubt one of the bright lights of Irish journalism. He extends his deepest sympathies to Bowman’s son, Saul, and to his parents John and Eimer.

The Fine Gael leader, John Bruton, says that few people he knew brought a smile to the face of anyone they met more readily. He says that his infectious good humour and iconoclastic attitude to life conveyed itself to all with whom he came into contact. He adds that Bowman will be missed for many years to come.

The editor of the Sunday Independent, Aengus Fanning, says that Bowman was one of the most brilliant journalists of his generation.

Bowman is survived by his parents, his sister Emma, his brothers Abie and Daniel and his only son Saul Philbin Bowman.


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Birth of Cecil King, Painter & Collector

Cecil King, painter and collector, is born on February 22, 1921, at Rathdrum, County Wicklow.

King is the son of Henry King, businessman, of Rathdrum, and Susan King (née Crowe). He is educated at the Church of Ireland Ranelagh School, Athlone, and at Mountjoy School, Clontarf, Dublin (1936–39). Subsequently he joins the printing firm of W. & S. McGowan in Dundalk, where he goes on to become a director. During the 1940s his interest in amateur drama leads him to take classes at the Gaiety School of Acting in Dublin, where his fellow students include Milo O’Shea and Eamonn Andrews. Around this time, he is also involved in An Óige (the Irish Youth Hostel Association), in which he serves as honorary national secretary and honorary treasurer. This involvement leads him to travel extensively from the late 1940s around Europe, where he visits many major art museums and galleries.

King begins to acquire works of art, by both European and Irish artists, and by the mid-1950s he has amassed one of the most important collections of modern art in Ireland. Around 1954 he himself begins to paint, under the guidance of Barbara Warren and the English artist Neville Johnson. In his early work he focuses on urban scenes, often based on the area of Ringsend, Dublin, where he uses subdued tones to produce poetic images of a sombre mood. Even here his interest in the formal qualities of painting – such as the flatness of the picture surface and the juxtaposition of areas of colour on it, which becomes a defining feature of his art – is evident. In 1964 he leaves his successful business career behind in order to devote himself entirely to art, a bold move considering the limited audience for modern art that exists in Ireland at the time. In his own words he recalls how “Painting was what I wanted to do, I realised I didn’t need a car. I could do without an awful lot of things.” (Sunday Independent, November 7, 1982)

By this time, King is working in a fully abstract style. However, he still draws his inspiration from the external world, particularly the milieu of the circus. A painting such as Trapeze (1976; Allied Irish Bank collection) shows how he responds to acrobatic performance, not in any literal or figurative sense, but to the tensions and balances inherent within it. The overall effect is to convey to the viewer the essence of anticipation of the performance. Indeed, his works can create an almost physical sense of involvement on the part of the viewer. This is especially true of his Berlin Suite, a series of screen-prints produced as a result of a visit to East Berlin and published by Editions Alecto of London (1970). He is also inspired to produce a number of paintings on this theme of the claustrophobia of the divided city. Ultimately, he aspires to create works which, with their economy and restraint, achieve a meticulously balanced harmony. This concern leads him, in such works as the Baggot Street Series, to move away from even the most veiled figurative references, evidence for the fact that he constantly strives to further his artistic explorations.

King often works seven days a week. This quiet determination contributes in no small part to the international standing he soon achieves, as does his prolific record as an exhibitor. Writing a foreword to an exhibition of his work at Kilkenny in 1975, the critic William Packer finds that King’s art “confounds the expectations we might have of Irish art, for it is far from local in ambition, accomplishment, and seriousness.” He mounts over twenty-five one-man exhibitions and contributes to a large number of group shows in Ireland and abroad. A significant proportion of his output is to be found in galleries in Europe and the United States, including the Museum of Modern Art, New York, and the Tate Gallery, London. He is also represented in the major public and corporate collections in Ireland, such as the Irish Museum of Modern Art, Ulster Museum, Trinity College Dublin (TCD), Crawford Municipal Gallery, Dublin City Gallery The Hugh Lane, Arts Council, Aer Lingus, Bank of Ireland, Allied Irish Bank, and ESB. In fact, King, with his hard-edge abstract style, is one of the very few artists working in Ireland at the time whose work is comparable to that of the major (principally American) international exponents of abstraction. The term “hard-edge,” applied to King’s style, may however belie the subtlety he could achieve in terms of his handling of colour and texture. This is particularly true of his works in the media of pastel and tapestry, while his last paintings show a tendency towards more expressive brushwork and a more complex approach to colour.

King enjoys a happy relationship with Oliver Dowling from 1960 to the time of his death, at Dún Laoghaire, County Dublin, on April 7, 1986, having suffered a heart attack just three days before an exhibition of his work is due to open in Dublin at the Oliver Dowling Gallery. His legacy is not alone artistic: he also makes a significant contribution to the promotion of modern art in Ireland in his capacity as a member of the organising committee for the Rosc exhibition since its inception in the 1960s, where his wide knowledge of international art is much respected. A member of Aosdána, he twice serves as commissioner for the Department of Foreign Affairs cultural committee. He is also generous in his encouragement of young artists, whose work he regularly adds to his own collection.

(From: “King, Cecil” by Rebecca Minch, Dictionary of Irish Biography, http://www.dib.ie, May 2012 | Pictured: Abstract, Oil on Canvas by Cecil King)


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Death of Aengus Fanning, Journalist & Editor of the Sunday Independent

Aengus Fanning, Irish journalist and editor of the Sunday Independent from 1984 until his death, dies on January 17, 2012, following a battle with lung cancer. He is also a former editor of farming for the Irish Independent. He is listed at number 31 on a list of “most influential people” in Irish society compiled for Village magazine.

Fanning is born on April 22, 1944, in the family home at Cloonbeg Terrace, Tralee, County Kerry, the fourth child among five sons and one daughter of Arnold (‘Paddy’) Fanning, a teacher, and his wife Clara (née Connell). Originally from Rostrevor, County Down, his mother is born a Presbyterian and converts to Catholicism to marry his father, though neither is religious. His father is a noted organiser of local theatrical productions, having written a one-act play, Vigil, which is staged in the Abbey Theatre in 1929.

Fanning has a keen interest in sport, having represented Kerry in Gaelic football in his youth. He is also passionate about cricket. He also plays the clarinet, and is a jazz fan. He is a graduate of University College Cork (UCC).

In May 1964 Fanning is hired as a reporter by his uncle, James Fanning, the owner of the Midland Tribune in Birr, County Offaly, and pursues an unglamorous beat covering court sittings, local authority meetings and GAA matches. Needing a better salary to start a family, he joins Independent Newspapers (IN) in Dublin as a general reporter in May 1969, and soon after marries Mary O’Brien from Streamstown, County Offaly. They settle in Dún Laoghaire, County Dublin, and have three sons.

Fanning covers the Northern Ireland troubles during 1969–70, before reporting increasingly on farming matters, becoming the IN group’s agricultural correspondent in 1973, as Ireland’s European Economic Community (EEC) accession sparks a farming boom. He is made head of news analysis at the Irish Independent in 1982, improving the op-ed page and using it to advocate more market-driven economic policies.

Fanning is appointed editor of the mid-to-upmarket Sunday Independent in 1984 from. Under his leadership, the newspaper adopts what Irish newspaper historian John Horgan calls a “new emphasis on pungent opinion columns, gossip and fashion” which results in the paper overtaking its main rival, The Sunday Press. For a time, his deputy editor is journalist Anne Harris.

In a 1993 interview with Ivor Kenny in the book Talking to Ourselves, Fanning describes himself as a classical liberal who is opposed to both Ulster loyalist and Provisional Irish Republican Army terrorism. He also expresses a strong advocacy of the free market, arguing that the goal of a good newspaper is to be as commercially successful as possible:

“If three or four papers out of 15 are successful and the others are not, they might say they’re not driven by the market, they have some higher vocation: to serve the public interest or some pompous stuff like that. That’s how they feel good about themselves. Fair enough, if that’s how they want to explain the world. It’s a grand excuse for relative failure… I think we live or die by the market, it will always win through.”

Fanning recruits a number of noted writers to contribute to the newspaper, including historians Conor Cruise O’Brien and Ronan Fanning, journalists Shane Ross and Gene Kerrigan, poet Anthony Cronin and novelist Colm Tóibín. However, his editorship is not without controversy. The columns published by Eamon Dunphy and Terry Keane draw criticism. Michael Foley notes some Irish commentators criticised Fanning’s Sunday Independent, claiming the newspaper was publishing “a mix of sleaze and prurience.”

Fanning also defends the controversial Mary Ellen Synon, who calls the Paralympics games “perverse.” One of the more bizarre incidents occurs in 2001 when he is involved in a fisticuffs with a colleague at the newspaper – operations editor Campbell Spray.

Diagnosed with lung cancer in April 2011, Fanning spends his last months undergoing treatment in St. Vincent’s University Hospital, Dublin, dying there on January 17, 2012, at the age of 69. His remains are cremated at Mount Jerome Crematorium.

Anne Harris, Fanning’s second wife, succeeds him as editor and lasts three years. As well as pioneering changes in the domestic print media’s role, Fanning’s Sunday Independent led Irish society’s turn towards free market hedonism, catching the public mood better than its more conventionally liberal rivals by rendering this cultural transformation in an exuberant, somewhat parodied form, and without regard for lingering post-Catholic inhibitions.


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Death of Seumas O’Kelly, Journalist, Writer & Playwright

Seumas O’Kelly, journalist, fiction writer, and playwright, dies in Dublin on November 14, 1918, following a cerebral haemorrhage.

O’Kelly is born James Kelly in Mobhill, Loughrea, County Galway, youngest of seven (or possibly eight) children of Michael Kelly, corn merchant, and his wife, Catherine Fitzgerald. His date of birth is uncertain. Some commentators believe he is the James Kelly whose birth was registered on November 16, 1875, but relatives claim this was a sibling and namesake who died prematurely. His death certificate implies he was born in 1878, and family members maintained he was born in 1880.

Loughrea is at the centre of the bitterly-fought plan of campaign agitation on the Clanricarde estate from the late 1880s. Many tenants in the town and surrounding rural districts are evicted for non-payment of rent, and Lord Clanricarde resists reinstatement until the estate is purchased by special legislation shortly before World War I. According to one source, the O’Kellys are themselves evicted during the Plan of Campaign, though they seem to retain a degree of financial stability. A widespread perception that nationalist politicians had exploited the evicted tenants contributes to the relative strength of Parnellism in the area, and the early appearance of Sinn Féin. This background inspires such works as O’Kelly’s 1917 play, The Parnellite.

While growing up in Loughrea, O’Kelly is profoundly influenced by contact with older relatives and country folk from whom he learns some Irish and the folklore/storytelling tradition that shapes many of his stories. The example of his mother and friendship with the local Carmelite fathers, whom he serves as an altar boy, gives him a strong commitment to Catholicism. This coexists in his work with an Ibsenite-Parnellite insistence on individual defiance of conformity, and a gentle exaltation of the sensitive dreamer isolated from the life around him. The mixture is sometimes uneasy. His observations on domestic violence, the sexual exploitation of servant girls by hypocritically pious employers, and prejudice against children born outside marriage or raised in the workhouse are unobtrusive but biting. His play, The Bribe (1913), gives a devastating depiction of the social and economic pressures which induce a small-town shopkeeper and poor law guardian to accept a bribe to appoint an underqualified dispensary doctor, with disastrous results. The corrupt and snobbish doctor is called Power O’Connor, an unsubtle hit at the nationalist MP, T. P. O’Connor. This element of social observation distinguishes him from the more symbolist city-born Daniel Corkery, to whom he is often compared. Much of his writing is recognisably set in Loughrea.

O’Kelly begins working as a journalist on local papers, including the Midland Tribune, the Tuam News, and the Connacht Leader. He becomes editor of The Southern Star, based in Skibbereen, County Cork, in 1903, and is said to be the youngest newspaper editor in Ireland at the time. He moves to Naas, County Kildare, in 1906, as editor of the Leinster Leader. Here he lives in a house by the canal, which provides the inspiration for his linked series of short stories, The Golden Barque, along with his father, a nephew, and his brother Michael. Already a contributor to The United Irishman published by Arthur Griffith, and later its successor, Sinn Féin, he is active in the Naas Sinn Féin club and makes regular weekend visits to Dublin, where Griffith introduces him to Dublin literary circles. Here his closest friends are James Stephens, whose influence is visible in the more whimsical and fantastic elements of O’Kelly’s work, and Seumas O’Sullivan, who recalls O’Kelly as a man of remarkable gentleness and integrity.

O’Kelly’s journalistic career is accompanied by his development as a writer, publishing stories in a variety of outlets, including the Irish Rosary and the Irish Packet. From 1908 he has several plays produced by the Theatre of Ireland, a nationalist-oriented rival to the Abbey Theatre. Lustre (1913), written jointly with Casimir Markievicz, later becomes the basis for a Soviet film.

Around 1911, O’Kelly suffers a severe attack of rheumatic fever, which leaves him with a chronic heart condition and a strong sense of mortality. He continues to write extensively and with increasing skill. He becomes editor of Dublin’s The Saturday Evening Post in 1912 and moves to Dublin, where he lives in Drumcondra. At this time he is an occasional contributor to The Manchester Guardian, turning down a permanent job on that paper. He leaves the Post in 1915 because of continuing ill-health and is offered the editorship of The Sunday Freeman but has to retire after two weeks. He then returns to Naas. At this time his play Driftwood, commissioned by Annie Horniman, is produced in Manchester and London.

When O’Kelly’s brother is interned after the Easter Rising, he resumes the editorship of the Leinster Leader until his brother’s release at Christmas 1916. He also contributes topical articles to the Sunday Independent. His literary reputation continues to increase with a short story collection, Waysiders (1917), and his best-regarded full-length novel, The Lady of Deerpark (1917), a melancholy story about the last heiress of a declining Catholic gentry family. Another novel, Wet Clay (1922), is published posthumously and is the story of the tense relationship between a “returned Yank” and his small-farmer cousins, which shows deeply unresolved ambivalence about the nature and prospects of Irish rural society after the Land War.

When Griffith and many other Sinn Féin activists are arrested and imprisoned in May 1918, O’Kelly returns to Dublin to edit the Sinn Féin paper Nationality. During the days after the Armistice of November 11, 1918, a crowd of soldiers and women whose husbands are serving in the British Army attack the paper’s premises, which are also the headquarters of Sinn Féin. As a result of these attacks O’Kelly suffers a cerebral haemorrhage which leads to his death on November 14, 1918.

O’Kelly’s funeral turns into a major political demonstration and his status as a nationalist martyr leads to the posthumous publication of many of his works. These include the novella, The Weaver’s Grave (1920), generally regarded as his masterpiece. It has been reprinted regularly and translated into several languages. A 1961 Radio Éireann adaptation by Micheal Ó hAodha wins the Prix Italia. The twenty-fifth and fiftieth anniversaries of his death see various commemorations in his honour and a short-lived Seumas O’Kelly Society is founded in 1968. O’Kelly never marries but is said to have cherished a hopeless passion for the actress and nationalist activist, Máire Níc Shiubhlaigh, for whom he writes the play The Shuiler’s Child (1909).

(From: “O’Kelly, Seumas” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of Jim Larkin, Union Leader & Socialist Activist

James (Jim) Larkin, Irish trade union leader and socialist activist, dies in his sleep in Dublin on January 30, 1947. He is one of the founders of the Irish Labour Party, the Irish Transport and General Workers’ Union (ITGWU), the Workers’ Union of Ireland and the Irish Citizen Army (ICA).

Larkin is born to Irish parents in Liverpool, England, on January 21, 1876. He and his family later move to a small cottage in Burren, County Down. Growing up in poverty, he receives little formal education and begins working in a variety of jobs while still a child.

In 1905, Larkin is one of the few foremen to take part in a strike on the Liverpool docks. He is elected to the strike committee, and although he loses his foreman’s job as a result, his performance so impresses the National Union of Dock Labourers (NUDL) that he is appointed a temporary organiser.

Larkin moves to Belfast in 1907 to organise the city’s dock workers for the NUDL. He succeeds in unionising the workforce, and as employers refuse to meet the wage demands, he calls the dockers out on strike in June. Carters and coal men soon join in, the latter settling their dispute after a month.

In 1908, Larkin moves south and organises workers in Dublin, Cork, and Waterford, with considerable success. His involvement, against union instructions, in a dispute in Dublin results in his expulsion from the NUDL. The union later prosecutes him for diverting union funds to give strike pay to Cork workers engaged in an unofficial dispute. After trial and conviction for embezzlement in 1910, he is sentenced to prison for a year. This is widely regarded as unjust, and the Lord Lieutenant of Ireland, Lord Aberdeen, pardons him after he has served three months in prison.

After his expulsion from the NUDL, Larkin founds the Irish Transport and General Workers’ Union (ITGWU) at the end of December 1908. The organisation exists today as the Services Industrial Professional & Technical Union (SIPTU). In early 1909, Larkin moves to Dublin, which becomes the main base of the ITGWU and the focus of all his future union activity in Ireland.

In June 1911, Larkin establishes a newspaper, The Irish Worker and People’s Advocate, as a pro-labour alternative to the capitalist-owned press. In 1912, in partnership with James Connolly, Larkin helps form the Irish Labour Party.

In early 1913, Larkin achieves some successes in industrial disputes in Dublin. Two major employers, Guinness and the Dublin United Tramway Company, are the main targets of Larkin’s organising ambitions. The chairman of the Dublin United Tramway Company, industrialist and newspaper proprietor William Martin Murphy, is determined not to allow the ITGWU to unionise his workforce. On August 15, he dismisses 40 workers he suspects of ITGWU membership, followed by another 300 over the next week. On August 26, 1913, the tramway workers officially go on strike.

The resulting industrial dispute is the most severe in Ireland’s history. Employers in Dublin engage in a sympathetic lockout of their workers when the latter refuses to sign the pledge, employing blackleg labour from Britain and from elsewhere in Ireland. Guinness, the largest employer in Dublin, refuses the employers’ call to lock out its workers but it sacks 15 workers who struck in sympathy.

For seven months the lockout affects tens of thousands of Dublin workers and employers, with Larkin portrayed as the villain by Murphy’s three main newspapers, the Irish Independent, the Sunday Independent, and the Evening Herald, and by other bourgeois publications in Ireland. The lockout eventually concludes in early 1914 when calls by James Connolly and Larkin for a sympathetic strike in Britain are rejected by the British Trades Union Congress (TUC). Larkin’s attacks on the TUC leadership for this stance also lead to the cessation of financial aid to the ITGWU.

Some months after the lockout ends, Larkin leaves for the United States. He intends to recuperate from the strain of the lockout and raise funds for the union. Once there he becomes a member of the Socialist Party of America and is involved in the Industrial Workers of the World union (the Wobblies). He becomes an enthusiastic supporter of the Soviet Union and is expelled from the Socialist Party of America in 1919 along with numerous other sympathisers of the Bolsheviks during the Red Scare of that year.

Upon his return to Ireland in April 1923, Larkin receives a hero’s welcome, and immediately sets about touring the country meeting trade union members and appealing for an end to the Irish Civil War. In September 1923, Larkin forms the Irish Worker League (IWL), which is soon afterwards recognised by the Communist International as the Irish section of the world communist movement.

James Larkin dies in his sleep on January 30, 1947, in the Meath Hospital in Dublin. Fr. Aloysius Travers, OFM, who had administered last rites to James Connolly in 1916, also administers extreme unction to Larkin. His funeral mass is celebrated by the Catholic Archbishop of Dublin, John Charles McQuaid, who had visited him in hospital before he died, and thousands line the streets of the city as the hearse passes through on the way to Glasnevin Cemetery.

Today a statue of “Big Jim” stands on O’Connell Street in Dublin, completed by Oisín Kelly and unveiled in 1979.